4.0 The Microphonic Saxophone
The microphonic process, defined as the use of microphones and related media for musical ends, began with early microphone singers such as Bing Crosby, continued in popular music with electric guitarist Jimi Hendrix, and found a home in avant-garde classical music in the compositions of Karlheinz Stockhausen and Hugh Davies. While the work of these diverse artists is recognized by academics and has been integrated to varying degrees into contemporary musical practice, the microphonic process continues to evolve. In this chapter, I discuss two modern examples of artists who employ the microphonic process with the saxophone. The first is Canadian-American “avant-pop” saxophonist Colin Stetson (b.1975), who combines extended saxophone techniques with a multi-microphone setup to create complex solo performances. The second is free jazz1 saxophonist John Butcher (b.1954), a prolific British improvisor who likely pioneered “feedback saxophone,”2 an approach whereby acoustic feedback is induced and controlled by the tenor saxophone.
I discuss works of theirs that are indicative of their contributions to both saxophone performance practice and the microphonic process: Judges for Stetson and streamers for Butcher. In examining these works, I position Stetson and Butcher within the tradition of the microphonic process as I have described it. Despite being successful musicians in the 21st century, their work contradicts the close alignment between advancing technology and musical innovation – a trend that has only increased throughout the digital revolution. I conclude by addressing how Stetson and Butcher’s work can be used as a model for meaningful alternatives to the increasing dominance of digital modes of production.